Cokin revamps square filter lineup as 'Creative Filter System'

Cokin has announced a complete overhaul of the branding and packaging of its square filters. The existing different-sized ranges ( 'A', 'P', 'Z-Pro' and 'X-Pro') have been rebranded into a single 'Creative Filter System', with the four sizes relabelled 'S', 'M', 'L' and 'XL'. Gone are the old bulky plastic storage boxes too, replaced by a slimmer 'SlidePack' design which takes up half the space, and uses a microfibre-lined sleeve to help keep your filters clean. Photographers nostalgic for the good old days can breathe a sigh of relief though - old classics such as Tobacco Grads and Sunset filters are still in the catalogue.

It's clear that Cokin has struggled to keep its front-of-lens filters relevent in the age of digital; where film photographers had little other practical choice for adding effects to their images, photographers are now more far more likely to manipulate their files after capture. The parent company went into administration in November 2010, and Cokin was rescued by Kenko Tokina in 2011. Whether rebranding and repackaging (however well-devised) will be enough to keep it going remains to be seen.

Would you buy into Cokin's Creative Filter System rather than use post-processing? Leave your thoughts in the comments.

Press release:

Cokin rethinks its range of creative filters.

New brand image. New packagings.

Cokin announces a new step in its renaissance, by simplifying its range of creative products. For years, we used “creative filters” as a generic name. Today, CREATIVE FILTER SYSTEM (CFS) becomes the official name of our range of creative products.

All the existing Cokin creative products (A Series, P Series, Z-Pro Series and X-Pro Series) are unified under this new range name. Until now, dealers had to explain the difference between each systems. However, what makes a customer decide between the different systems is the size of their lenses rather than the features of each. That’s why, instead of four different products (A, P, Z-PRO, X-PRO), it will be easier to explain CREATIVE FILTER SYSTEM as one product, available in four sizes (S, M, L, XL). Moreover, the use of “textile” denomination of sizes (S, M, L, XL) helps having a clear overview of the range. As of today, Cokin CREATIVE FILTER SYSTEM range will look like this:

Cokin also presents a more comprehensive brand identity, with pictograms and color code, to help customers understanding what system is recommended to them. Pictograms give information on the new size denomination, the previous name of the series, the minimum and maximum diameters of available adaptor rings for this size.

As a reminder, the CREATIVE FILTER SYSTEM logo carries four dots (• • • •) echoing colors of eachsize, for customers to understand these items are part of the same range.

This overhaul wouldn’t be complete without a total rethinking of our packaging, to replace the long-lasting 35 years plastic box which protected Cokin creative filters since 1978.

After extensive research and development, Cokin is proud to announce SlidePack™, a revolutionary and environment-friendly new packaging for its best-selling M Size (ex-P Series) filters. SlidePack™ is approximately 55% smaller and 60% lighter than the previous packaging, and is only made of recyclable material to reduce Cokin footprint and help preserving the world that gives us so beautiful pictures.

We’ve also learnt a lot about users expectations. This new packaging is more user-friendly. The filter slides in an out of the packaging with only one hand. Made of thick carton and overpacked in a ready to pegboard polyethylene strong sleeve, SlidePack™ is very protective. The inner part of SlidePack™ is coated with a microfiber cloth. Not only does it prevent the filter from being scratched, but it cleans it each time the filter slides in and out. Moreover, the design of SlidePack™ prevents the filter to drop unexpectedly. It has never been so easy to use a Cokin filter.

The first 22 M size (ex-P Series) filters to adopt the new SlidePack™ are:

001 Yellow

002 Orange

003 Red

007 Infrared (89B)

020 Blue (80A)

120 Gradual Neutral Grey G1

121 Gradual Neutral Grey G2 (ND8) - 0.9

121L Gradual Neutral Grey G2 Light (ND8) - 0.3

121M Gradual Neutral Grey G2 Medium (ND4) - 0.6

121S Gradual Neutral Grey G2 Soft (ND8) - 0.9

121F Gradual Neutral Grey G2 Full (ND8) - 0.9

122 Gradual Blue B1

123 Gradual Blue B2

123S Gradual Blue B2 So

124 Gradual Tobacco T1

125 Gradual Tobacco T2

125S Gradual Tobacco T2 So

152 Neutral Grey ND2 - 0.3

153 Neutral Grey ND4 - 0.6

154 Neutral Grey ND8 - 0.9

197 Sunset 1

198 Sunset 2

Every SlidePack™ will carry a brand new graphic design and a never-seen before picture that will bring some fresh air to the range. Packagings of S (ex-A Series), L (ex-Z-PRO Series) and XL (ex-XPRO Series) as well as those for adaptor-rings and filter-holders will adopt the new CREATIVE FILTER SYSTEM graphic design in a close future.

Named after its founder Jean Coquin, a famous french photographer of the 70’s, Cokin is the inventor of the innovative CREATIVE FILTER SYSTEM (adaptor ring + filter-holder + filters), the most popular filter system in the world.

Comments

I prefer to use the camera and filters rather than altering in photoshop etc other than cropping and minor changes. I would rather use my time photographing, I admit post processing could improve many photos, but setting behind the computer is not as much fun as trying to improve my pictures on the spot.

I stopped using my Cokin kit after I realized it's a better process to take multiple exposures and layer in Photoshop or combine to create a HDR. You just get more creative control rather than putting a filter over an entire scene, or even a graduated one.

That said, there is still value in ND filters for example, when you want long exposures to show movement, shooting water, etc., without overexposing.

If you think you can color balance digitally without loss of image quality you are wrong.

Lots of professional photographers have tested and proved this. The best way to retain the most amout of image data is to set the digital camera WB to daylight and color balance the scene with an actual physical filter. Digital camera sensors are daylight balanced by design from factory.

I owned plenty of hideous Cokin A series filters when I used film, all of which were hardly ever used apart from an 80A for tungsten correction. The only detachable Cokin P-filters I own now for my digital SLR are a polariser and a set of ND grads... all of which hardly ever get touched.

There is no future for 'creative' clip-on filters (i.e. destroy your shot for ever) when everything apart from polarising and ND-type exposure adjustment can be done post capture, with no risk.

the people who keep saying good technique at the point of capture is always the best practice are totaly right and yet completely wrong in the point they are trying to make. Graduated filters are a great example. the argument will run that darkening the sky at the point of capture will give you a cleaner exposure. but... the fact is the best sensored cameras out there have wonderful dynamic range. so what you do is you set up on a tripod you shoot at base iso. if the sky is really bright you might under expose a little bit and you can always take another shot where you expose for the sky so you know you get all the data. this is using good technique at the point of capture. its also keeping in mind what you can do at post capture. it will also allow you to apply your effect in alot more exact way. we have all scene photos where the graduated filter has hit things that were not intended. you have way more control to prevent these things from happening in a way you cant with filters

Blending multiple exposures (esp.with longer exposure times) has it's own backdraws and problems as well. I personally prefer to get the exposure done right in the camera, so that I see the (near) final image on the LCD right in the field.

good processing knowing the limits of your exposure shooting at base iso and simply shooting nikon instead of canon can prevent this. you may have to blend another exposure. but shooting a landscape on a tripod you should always be able to get there without over processing

Cokin didn't always have four sizes of filter. In fact they started off small, which worked just fine for most lenses when photographers were using compact manual focus primes and 24mm was considered *really* wide. Then as lenses got larger (especially zooms) and wideangles got wider, Cokin introduced larger and larger filter sizes to cope. 'X-Pro' and 'Z-Pro' are both relatively recent additions.

You can't really blame the younger crowd. Not having any real influence with using filters, for wanted to do everything in post.

I agree with others that ND's, Grads and Haze filters (including UV's to protect lenses), those that directly improve the IQ to create the cleanest, error free image as a baseline, (from which to effect PP) is the best approach today.

I like the old plastic boxes. Much easier to organize/stack in a drawer in my rigging cart, (which is a Stanley FatMax 4 in 1). Clearly marked on the edge with a sharpie. SlidePacks might require some folder tabs for those frequent users.

I occasionally use a Soft filter (though I prefer the Schneider with it's micro lens lets) as a time saver when shooting several portraits to limit my needs in PP. I also like to use them for video, the square lenses are big enough for standard matte boxes.

It's tough to justify the price of new with all the glass being offloaded in Yard Sales, swap meets and eBay.

I have to disagree. spending tons of money on filters doesnt make much sense anymore. Its good to have s a solid ND and polarizer. the res are either sort of pointless with digital or bad taste to begin with. If i want to bring down the sky for instance in a landscape will shoot at base iso on a tripod. maybe underexpose a bit. with my d800 i should be able to get that sky back. i can always take a second exposure for the sky and do some blending in an extreme case. if i want bluer skies or some such i will always be able to do that cleaner in post. there just really is no need for 500 filter collection anymore. a polarizer add nice contrast and darkening to the sky so much easier than any post processing and NDs are needed more than ever cuz iso 100 has pretty much become the floor. but that is it as I see it

^^ Who says you need 500 different GND filters ? Me and my friend have exactly 3 GND filters - a 2 stop soft GND which I use the most, a 2 stop hard edge GND which I use sometimes and a 3 stop hard edge GND when the sky is really really bright. GNDs are even more useful when doing long exposures as the difference between ground and sky can become even more pronounced.

The coloured ones I agree are mostly useless. I use their system only for their GND filters and nothing else.

@Kodachrome200. I come from film, and when Photoshop was a toy project, (called "Display"), between two brothers, and filters were needed for all kinds of corrections. I still shoot film, but I only kept the few that made a difference for digital and as toys for effects. I also made mention of buying them cheap on eBay, etc.

I will tell you that a nice Soft FX, properly done, will kill a lot of post processing needs. A starlight will do wonders on gems when the client wants those enhanced catch lights and sparkles, etc. So, just because I use Photoshop, doesn't mean that I always have to if I can do things right during the shoot, (which translates into less billable time).

I speak from actual use and experience, and you're gonna have a hard time to convince me that I'm wrong.

I am still using my Cokin filters from the 1970's with my Nikon D700, I thought this was standard practice, the ND filters really help control dynamic range. Not sure if the micro-fibre lined new packaging is the way to go. I have, and still use, the old Cokin "box" which holds multiple filters, each separated by slots, nothing touches the filter except along the edges.

As someone who used to shoot Kodacrhome 25 regularly, good technique at the point of capture is always the best solution...there are options in PP, but controlling dynamic range at the point of capture trumps PP. I still use my 1970's Cokin ND filters on my Nikon D700.

I really should use it and get things right at capture... But they are just too much trouble and with an HDR image I can get pretty much the same effect, arguably even better. What would be good would be digital variable ND filters, set in the camera. It's being able to customize where you apply the darkening effect that is so powerful an option.

I use the Cokin A system, and except for the plastic box I am actually very satisfied with the system. I will replace the old filters (I used Graduated ND) with these once they are unusable.

Actually, I do not see how digital filters are going to replace (G)ND, or Polarizers. The other Cokin filters however are pretty much redundant IMHO, with few exceptions.

@ZAnton: What are you talking about? Sauter (Munich) has them, and www.versandhaus-foto-mueller.de delivers to all Germany (that's how I got them). Yes their site is lousy but the delivery was quite fast.

It would be great if they would sell the new soft storage system separately so that those of us with the old filters could replace the plastic boxes with something more user friendly. I like Cokin and have used the system for years. I especially like the ND filters because I can stack them. When you acclimate yourself to the holder it is easy to work with...and they do (did) have a solid slide which could be used as a "lens cap".

Cokin is a virtual company. I am looking for a place where I can buy their PRO filters (in Germany) for 3 years, and still can not find anything. Neither amazon, nor ebay or any other more or less big shop has their products. Their internet page has not functioned for years (is it now?).So dpreview, please delete these news, so that other people would save their time by reading it and searching these phantom filters.

What! Cokin are still around? I thought they disappeared from the scene yonks ago! I had a substantial set of Cokin square filters back in the days of film and thoroughly enjoyed them. I assumed today with the digital darkroom and the advanced image processing available to all, that such filters (with the exception of polarizers, and UV ones to protect the lens) had become obsolete.

Well...the more the DR of the camerasensors gets better the less use there is for it. Detail lost in highlights on sensors are still not easily retrived. With a Cokin gradfilter things still get a lot better. Even on the best cams out there.

I just decided on the 84.5 filter series. Quite a few Dutch reviews by pro photographers convinced me. In general: in spite of the hard (organic) glass not scratch free, but no colour cast not even when you put two or three in your filterholder. Price is okey. So...no Cokin (creative) for me.

Decent price with decent quality will sell. Look at how Lee is continuously sold out, despite the high price. They just need to update for modern needs, i.e. NDs, and gradients (no color necessary usually) for photography, and sets of filters for video (effects that are not easy to do in post).

Depends on focal length and what body it's on, i.e. the angle of view. You should get the range that covers the lens with your largest front diameter, taking into account the angle of view. I.e. on a tele, you can stack a bunch of 77mm filters with little effect, while on a wide angle, a thick filter (e.g. variable NDs) may already give hard vignetting.

The standard P, which is now Medium size, filter holder vignettes on my Canon 10-22 (APS-C camera). Then I bought a 1-slot holder, which still vignettes a little bit at 10mm. I had to modify it by filing off some plastic in the 4 corners to remove all the vignetting.

So if you don't want to go through the trouble, buy the L size. There's a big price jump when buying the larger size though, not to mention the bulk.

Bravo Kenko.... thank you for redesigning the antiquated and rather large boxes. I actually reconfigured one of my smaller camera bags into a filter storage system with slide in padded slots. This new packaging to me is the precise kind of evolution that was needed. Whether or not this saves the product is yet to be seen.

It is still a specialty product, but with the growth in CSCs, I've found new life with my ancient A series Cokin filters.

The next thing for the evolution to be complete is to redesign the holders so that they do not allow light leakage from the sides and also to make the filter multi-coated and anti-scratch coatings (perhaps they are going to come out with a Pro series for that).

Other square systems are leaping ahead of Cokin in their filter system, so if Kenko wants this product to survive, then they need to consider durability, flare resistance and light leakage prevention for the future of the system (also round those annoying corners!).

Honestly, the only filters that matter are the grad filters for specific long exposure instances. ND filters are multi-coated in circular systems to prevent flare and way more durable and less cumbersome (and do not have a magenta cast). The next is the linear polarizer which gives a much stronger polarization effect over circular polarizers, but only good on contrast detect focus cameras (which is great for all the mirrorless systems).

The other stuff is a waste of money (and yes I still have a Tobacco grad filter lol).

In the days of film I loved Cokin, but in the day of digital, most of the filters were made obsolete not by post processing, but by digital camera technology (specifically white balance correction).

CarVac, its not a huge difference, but with the quarter wave plate that is used to allow phase detect AF systems to work better and also for proper metering, counteracts some of the polarizing effects that the linear polarizer already performs (probably shouldn't have said much stronger, when it's actually pretty subtle difference). A circular polarizer is technically a linear polarizer with either one or two quarter wave plates. Those quarter wave plates depending on how they are designed also contribute the variations in quality from manufacturer to manufacturers.

I liked some of the Cokin filters and quite often it's easier to use the filter than to post process. They are quick and easy to use and remove so a one with, one without approcah is feasible. Tobacco grads were not a crime but an oddity...

I still have my A Cokin filters from my film days. While a few of the filters do not work with digital, there are many that do. I don't think you can polarize post process quickly and easily just as an example why it's relevant. Many times it's faster and easier to get it in camera than go back and work for hours to get it in post.